AD closed Cleveland Public Theatre’s 2012 DanceWorks 2012 with a stunning set of performances of “vintage visions!”
Audience members called the work “brilliant, ” “fantastic,” “amazing,” “awesome,” and “beautiful.” Read Donal Rosenberg’s REVIEW in The Cleveland Plain Dealer. Check out the Company’s press release below. Some of this work will be repeated in Antaeus Dance’s next performance: August 10th @ 8:30pm – Arts in August – Lincoln Park in Tremont. Please join us!
Antaeus Dance celebrate 11 years of dance making with repertory concert of audience favorites
MAY 17 – 19, 2012
Antaeus Dance closes its 2011-2012 season with VINTAGE VISIONS, a repertory concert celebrating eleven years of dance making and performance. The Company will perform audience favorites by Artistic/Executive Director Joan Meggitt May 17-19, 2012 in Cleveland Public Theatre’s James Levin Theatre. Tickets are $10 to $25 and can be purchased online at www.cptonline.org or by phone (216) 671-2727, ext. 501.
Antaeus Dance has been creating premiere evening-length danceworks since its launch in 2001. While early concerts followed a more traditional repertory format, the Company has largely devoted itself to large, elaborate works that incorporate original music and extensive set design. VINTAGE VISIONS offers an intimate last look at some of the Company’s most-beloved repertory. Audiences and company members alike share an affinity for the dances to be presented as part of the closing performance of CPT’s DanceWorks 2012.
Dancers Desmond Davis, Heather Koniz, and Joan Meggitt move through an athletic conversation using intense gestures and shared body language in Meggitt’s Hidden Dialogue. The trio has been a staple of Antaeus Dance’s repertory since it premiered in 2003. The intensely physical choreography requires the dancers to throw themselves through space and at one another. It is well-met in the music of Tranquility Bass, who reinterprets compositions by Steve Reich.
Similarly, the 2009 quartet Drift In, Drop Out also explores a gestural vocabulary writ large in the space. This dance features the visceral poetry of Allen Ginsberg paired with music by Philip Glass. Equally at home on the ground and in the air, the dancers create a shifting landscape that soothes and excites with flowing movement and fast-paced exchanges. Marissa Glorioso, Koniz, Meggitt, and Rhian Virostko perform.
Two solos and a duet balance these small group works.
Koniz will perform Meggitt’s signature 1999 solo The Ghost of Where You Were. This haunting solo is about memories – where the body holds them, and how they are revived, relived, and finally put to sleep. Elements of both dark and light are present is this visually stark dance. Koniz brings an evocative combination of physical strength and emotional vulnerability to the performance of this solo.
Meggitt will perform a new solo entitled idiorrhythmic, during which she breaks apart her own movement vocabulary. The term, from the Greek idiorrhythmos, means “living to one’s own life patterns” and is most commonly used in referring to monasticism. Davis and Meggitt will reprise Twin Souls Departing, a duet Meggitt created for her long-time dance partner, Doug Lodge, and his son Gamaliel, a founding member of Antaeus Dance. This quiet piece juxtaposes two distinct realities. In one a young man (as portrayed by Gamaliel Lodge) suffers a violent end. In the other, an old philosopher contemplates death as he continues to age alone. Both are seen at the same time, each in their own isolated space.
The concert closes with Meggitt’s Holding Patterns, an intimate trio from 1998 that portrays the dichotomy of struggle and acceptance. In the first of two divergent movements, Glorioso, Koniz and Virostko endeavor to meet the world head on, but are unable to do so. While the trio of dancers move together, they are very isolated. In spite of their necessary reliance on one another, the women do not trust one another and circle back to points of solitude throughout the dance. After a revelatory conclusion to the first movement, the action unfolds slowly to reveal an underlying calm. Meggitt elaborates: “This piece operates on two very distinct levels that I see as happening simultaneously, even though the choreography progresses linearly. One is the visceral reality of daily life. It reveals idiosyncrasies of being, nervous twitches, and urges to escape. The other is the internalized calm at the center of the storm; although it is not without its own sadness.” Arvo Part’s music provides a moving score to the action of the dance.